tue 13/11/2018

alexandra coghlan

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Bio
Alexandra is the classical music critic of the New Statesman, and has written on arts for The Times, The Independent, The Guardian, Prospect, Gramophone, Opera Now, The Oxford Times and The Monthly. She was formerly Performing Arts Editor at Time Out, Sydney. She writes about classical music, theatre and film for theartsdesk.

Articles By Alexandra Coghlan

The Silver Tassie, BBCSO, Barbican review - a bracing memorial for the WW1 anniversary

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Romeo and Juliet, Barbican review - plenty of action but not enough words

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Solomon, Royal Opera review - an awkward compromise of a performance

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Götterdämmerung, Royal Opera review - a fiery finale to this ambiguous cycle

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Prom 15, Lewis, BBC Philharmonic, Gernon - a masterful Emperor took the musical laurels

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The Winter's Tale, Shakespeare's Globe review - a chilly tale for a time of austerity

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Partenope, Iford Arts review - a midsummer night's dream of a Handel comedy

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theartsdesk in Paris - following in the footsteps of Gounod

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Acis and Galatea, English National Opera, Lilian Baylis House review - Handel for the hashtag generation

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Die Zauberflöte, Garsington Opera review - visually stimulating, conceptually confusing

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Effigies of Wickedness, Gate Theatre review - this sleek cabaret conceals desolation behind a smile

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Lessons in Love and Violence, Royal Opera review - savage elegance never quite glows red-hot

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An Ideal Husband, Vaudeville Theatre review - unsettled evening leaves blood on Wilde's drawing-room furniture

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Vivaldi's The Four Seasons: A Reimagining, Sam Wanamaker Playhouse review - a gentle exploration of life, love and death

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Rinaldo, The English Concert, Barbican review - Bicket's band steals the spotlight

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Dead Man Walking, Barbican review - timely and devastating meditation on human violence and forgiveness

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latest in today

Thibaudet/Batiashvili/Capuçon Trio, Barbican review – a supe...

Even in a large hall, very good things can come in small packages. In advance, partisans of the Wigmore Hall or some other dedicated chamber space...

The Simon & Garfunkel Story, Vaudeville Theatre review -...

What to make of The Simon & Garfunkel Story, which began a week-long residency at London’s...

theartsdesk on Vinyl 44: Thom Yorke, Primal Scream, Elvis, N...

Enough hyping! This month, without further ado, let’s head straight to the reviews…

VINYL OF THE MONTH

LOR...

CD: Imogen Heap - The Music of Harry Potter and the Cursed C...

London’s Palace Theatre this week celebrated the thousandth...

They Shall Not Grow Old, BBC Two review - Peter Jackson...

Peter Jackson has form when it comes to re-examining cinema history. In 1995 he made Forgotten Silver, a...

Robert Hastie: 'a seam of love runs through the play...

Robert Hastie is a little late for our meeting. Directing ...

LSO, Roth, Barbican - not enough pathos, but a remarkable st...

Missa in Angustiis. Mass in troubled times. There was a logic in...

Edward Burne-Jones, Tate Britain review - time for a rethink...

When, in 1853, Edward Burne-Jones (or Edward Jones as he then was) went up to Exeter College, Oxford, it could hardly have been expected that the...

Widows review - feminist crime pays

Steve McQueen’s progress from video artist to...